Luigi Dallapiccola's Quaderno Musicale di Annalibera uses it in the "Simbolo" opening, possibly in reference to Schoenberg's use of it in the Variations for Orchestra. Max Reger wrote a "Fantastia and fugue" on it, and it is the unifying idea behind 
Luigi Dallapiccola's Quaderno Musicale di Annalibera uses it in the "Simbolo" opening, possibly in reference to Schoenberg's use of it in the Variations for Orchestra. Max Reger wrote a "Fantastia and fugue" on it, and it is the unifying idea behind Alfred Schnittke's Quasi una sonata. By combining it with its inverse and its transposition up by a minor sixth, Alfred Webern was able to construct the tone row for his String Quartet. Robert Schumann wrote six fugues on it, and Franz Lizst composed a fantasy and fugue for organ on this theme. It is also the third subject of the last Contrapunctus in The Art of Fugue. For 10 points, name this musical monogram consisting of the notes (*) B-flat/A/C/B natural, a motif naming the composer of six cello suites.
Luigi Dallapiccola's Quaderno Musicale di Annalibera uses it in the "Simbolo" opening, possibly in reference to Schoenberg's use of it in the Variations for Orchestra.
{BACH} motif [accept "{B}-{flat/A/C/B}" until mentioned; accept {clear knowledge} equivalents]